Music Production and Sound Engineering (Fully Assessed and Certificated)
Course designer
David Mellor
David Mellor, Audio Educator since 1986

David Mellor is the founder and Course Director of Audio Masterclass currently residing in the beautiful countryside of Oxfordshire in the United Kingdom. He has worked in audio education since 1986 in hands-on training, lectures and online. Mr. Mellor holds the degree of B.Mus (Tonmeister) from the University of Surrey where he studied music, piano performance, acoustics, electronics, electro-acoustics and recording.

Live Sound and Recording Engineer
Mr. Mellor worked as theatre sound engineer at London's Royal Opera House, with activities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. Mr. Mellor toured with the Royal Opera Company to the Dorothy Chandler Pavilion, Los Angeles, USA; the Odeon of Herod Atticus, Athens, Greece; the Sejong Center, Seoul, South Korea; the Bunka Kaikan, Tokyo, Japan.

Musician and Composer
Since 1985 Mr. Mellor has had more than 1000 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music) and his own music library for which he has produced seventeen compact discs. Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and The Oprah Winfrey Show.

Writer and Educator
Mr. Mellor has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He has also written for magazines including Sound on Sound, Audio Media, Studio Sound, Sound & Video Contractor. He has also written four books on audio and video technology. Mr. Mellor now specializes in online audio education and has been Course Director of Audio Masterclass since 2001.

Music Production and Sound Engineering (Fully Assessed and Certificated)

Full and detailed course covering all aspects of home recording studio operation

COURSE DESCRIPTION

The Audio Masterclass Music Production and Sound Engineering Course starts with studio setup and a basic recording of speech. It continues through microphone selection and placement, through equalization, compression and effects, all the way to final mix and master. The course concludes with making an industry-standard CD or DVD showreel to promote your professional career.

Flexible Learning
You can study the Audio Masterclass Music Production and Sound Engineering Course online or by downloading all of the course materials to your own computer. The course can be completed in 12 weeks, or you can spread it out over up to two years if you wish. You can work on the course at any time you choose, and take breaks whenever you like.

Audio Examples Library
The Audio Masterclass Music Production and Sound Engineering Course centers around the 1000+ file Audio Examples Library. Module by module, we will ask you to load these files into your digital audio workstation and listen carefully on your studio monitors, or monitoring-grade headphones. The course will show you exactly what you should be listening out for. Stage-by-stage the course will tune in your ears to the sounds of pro audio, all the way from basic sine waves to full mixes and masters.

Practical Assignments Projects
The Audio Masterclass Music Production and Sound Engineering Course is all about doing audio, in your own home recording studio. You can't learn just from reading, or watching videos. You have to get involved and make recordings. Each of the modules of the course has a Practical Assignment Project in which we will ask you to carry out elements of audio skills, from basic to advanced. We'll show you what to do, then ask you to do it. We're looking for precision, and no faults. But the projects also leave room for you to develop your full range of skills.

Course Manual
The course manual contains all of the technical knowledge you will need as a recording engineer or music producer. We've put in everything you need, and we have included special sections with more in-depth knowledge, if that's what you want. But we won't overload you with information that a working professional wouldn't need or want. The Course Manual is extensive, and at the same time concise and to-the-point. You'll find yourself dipping into it every day as you work on the practical assignments.

Multimedia Content
Your course will include multimedia enhancement content consisting of audio and video material made by Audio Masterclass at London's Abbey Road studios, famous for being where The Beatles recorded. You can load the audio material, recorded in 24-bit/96-kHz 'Studio Master' quality, into your digital audio workstation for precise auditioning. The accompanying videos show exactly how the recordings were made.

Showreel
The Audio Masterclass Music Production and Sound Engineering Course leads to the creation of your own industry-standard Showreel. Everyone who works in the entertainment or media industry and has an ambition to get ahead keeps a showreel of their best work. When they want to move on in their career, they can use it to demonstrate very effectively what they can do. When you first start out, you won't have any professional material to put in your showreel. But we'll help you put together the very best showreel you can and make a great impression on any industry professional you choose to contact.

Assessment
This course is assessed by Audio Masterclass on your practical assignment work, submitted online. You will receive grading on your work and detailed advice on how to improve. Resubmissions are accepted.

Certification
While it is true that no certificate can guarantee a job or freelance success in audio, you'll want something that rewards your achievement when you complete the course successfully. When you have completed the course successfully we will send you your Audio Masterclass certificate anywhere in the world by regular mail.

What are the requirements for this course?

  • Up-to-date computer with a broadband Internet connection, CD writer and digital audio workstation software
  • Microphone equivalent to or better than the Shure SM57 (two microphones are preferred in order to be able to make stereo recordings)
  • Audio interface
  • Loudspeaker or headphone monitoring
  • The existing ability to record, edit and mix, and to bounce to a stereo audio file
  • The existing ability to sing or play a musical instrument of any kind, or have a singer or musician with whom to practise your recording skills

What will I get with this course?

  • Over 1000 audio example files
  • 500-page+ course manual
  • 300 quiz questions
  • Answers to quiz questions
  • 12 practical assignment projects
  • Notes and audio examples on the practical assignment projects
  • Showreel guidance
  • Bonus multimedia and video content
  • Option to submit your showreel to achieve an Audio Masterclass certificate
  • Learn how to record speech, singing and instruments of all kinds
  • Learn how to record choirs and groups of instruments
  • Select and position microphones for mono and stereo
  • Select and operate microphone preamplifiers
  • Apply equalization, compression, reverb and effects
  • Mix and master your recordings
  • Achieve the ability to satisfy demanding industry clients
  • Assessment and grading of your practical assignment work
  • Audio Masterclass certificate on successful completion

Who should take this course?

  • Any home recording studio owner who wants to achieve a professional standard in their work
  • Composers who wish to work with modern technology
  • Songwriters who want to record their own songs and backing tracks
  • Anyone with an ambition to enter the music industry as a producer or engineer
  • Anyone with an ambition to work in the live sound or broadcast industry
  • If you want to be able to record, mix and master to a standard equal to that of a commercial release

SYLLABUS

SECTION 1: ANALOG & DIGITAL AUDIO
1
The Nature of Sound
TEXT
2
Frequency
TEXT
3
The Decibel
TEXT
4
Acoustics
TEXT
5
The Inverse Square Law
TEXT
6
Standing Waves
TEXT
7
Acoustic Treatment
TEXT
8
Sound Insulation
TEXT
9
Audio Electronics
TEXT
10
Components
TEXT
11
Measurements
TEXT
12
Digital Audio
TEXT
13
Analog to Digital Conversion
TEXT
14
Latency
TEXT
15
Check Questions
QUIZ
16
Sine Waves
AUDIO
17
Square Waves
AUDIO
18
Noise
AUDIO
19
Phase
AUDIO
20
Clipping
AUDIO
21
Frequency Response
AUDIO
22
Bit Depth
AUDIO
23
Analog Recording
AUDIO
24
Speech Recording
ASSIGNMENT
25
BONUS MULTIMEDIA CONTENT: Male Vocal Microphone Test
VIDEO
SECTION 2: MICROPHONES
27
Construction
TEXT
28
Directional Characteristics
TEXT
29
Special Types
TEXT
30
Accessories
TEXT
31
Use of Microphones
TEXT
32
Speech
TEXT
33
Music Recording
TEXT
34
Broadcast
TEXT
35
Public Address
TEXT
36
Location Recording
TEXT
37
Music Venue
TEXT
38
Theater
TEXT
39
Stereo Techniques
TEXT
40
Piano
TEXT
41
String and Wind Instruments
TEXT
42
Acoustic Guitar
TEXT
43
Electric Instruments
TEXT
44
Drums
TEXT
45
Check Questions
QUIZ
46
Speech Tests
AUDIO
47
Singing Tests
AUDIO
48
Vocal Comparison Tests
AUDIO
49
Modeling Tests
AUDIO
50
Microphone Comparison Test
ASSIGNMENT
51
BONUS MULTIMEDIA CONTENT: Female Vocal Microphone Test
VIDEO
SECTION 3: MICROPHONE PREAMPLIFIERS
53
Introduction
TEXT
54
Vacuum-Tube Preamplifiers
TEXT
55
Transistor Preamplifiers
TEXT
56
Transformers
TEXT
57
Phantom Power
TEXT
58
Gain
TEXT
59
Pad
TEXT
60
Filter
TEXT
61
Phase
TEXT
62
Operation
TEXT
63
Check Questions
QUIZ
64
Preamp Test 1
AUDIO
65
Preamp Test 2
AUDIO
66
Preamp Warmth Demo
AUDIO
67
Stereo Microphone Configurations
ASSIGNMENT
68
BONUS MULTIMEDIA CONTENT: Four Exotic Mics on Guitar
VIDEO
SECTION 4: EQUALIZATION
70
What Is Equalization For?
TEXT
71
Frequency & Level
TEXT
72
Level & Decibels
TEXT
73
Frequency Response
TEXT
74
Filters
TEXT
75
Passive EQ and Tone Controls
TEXT
76
Mixing Console EQ
TEXT
77
EQ In/Out
TEXT
78
Graphic EQ
TEXT
79
Corrective Equalization
TEXT
80
Creative Equalization
TEXT
81
Cut vs. Boost
TEXT
82
Equalizing the Mix
TEXT
83
Equalization for Live Sound
TEXT
84
Check Questions
QUIZ
85
EQ & Filters
AUDIO
86
Bass Guitar
AUDIO
87
Acoustic Guitar
AUDIO
88
Electric Guitar
AUDIO
89
Drums
AUDIO
90
Female Vocal
AUDIO
91
Male Vocal
AUDIO
92
Mix
AUDIO
93
EQ Ear Training
ASSIGNMENT
94
BONUS MULTIMEDIA CONTENT: The Joe Clancy Drum Recordings at Abbey Road Studio 3
VIDEO
SECTION 5: COMPRESSION
96
What Is Compression For?
TEXT
97
Connecting the Compressor (Hardware)
TEXT
98
Connecting the Compressor (Software)
TEXT
99
What the Compressor Does
TEXT
100
Compression Ratio
TEXT
101
Gain Reduction
TEXT
102
Setting the Threshold Control
TEXT
103
Fixed-Threshold Compressors
TEXT
104
Setting the Gain Make-Up
TEXT
105
Setting the Release Control
TEXT
106
Setting the Attack Control
TEXT
107
Stereo Link Button
TEXT
108
Noise and the Compressor
TEXT
109
Breathing and Pumping
TEXT
110
Use of the Side Chain
TEXT
111
De-Essing
TEXT
112
Methods of Compression
TEXT
113
Diode Bridge
TEXT
114
Variable-Mu
TEXT
115
FET
TEXT
116
Optical
TEXT
117
VCA
TEXT
118
Digital
TEXT
119
Check Questions
QUIZ
120
Female Vocal
AUDIO
121
Male Vocal
AUDIO
122
Bass Guitar
AUDIO
123
Acoustic Guitar
AUDIO
124
Electric Guitar
AUDIO
125
Kick and Snare Drums
AUDIO
126
Full Drum Set
AUDIO
127
Compressing the Mix
AUDIO
128
Parallel Compression
AUDIO
129
Demonstrations of Compression
ASSIGNMENT
130
BONUS MULTIMEDIA CONTENT: Four Compressors Compared on Female Vocal
VIDEO
SECTION 6: RECORDING SOFTWARE
132
Background to Recording Technology
TEXT
133
Inputs, Tracks & Outputs
TEXT
134
Session Files
TEXT
135
Disk Media
TEXT
136
Storage & Archiving
TEXT
137
Operation
TEXT
138
Virtual Tracks
TEXT
139
Editing
TEXT
140
Slipping, Shuffling & Spotting
TEXT
141
Fades & Crossfades
TEXT
142
Bouncing
TEXT
143
Audio File Library
TEXT
144
Plug-Ins and Latency
TEXT
145
Check Questions
QUIZ
146
Fades & Crossfades
AUDIO
147
Editing
AUDIO
148
Automation
AUDIO
149
Retiming
AUDIO
150
Creation of a Drum Track From Sampled Sources
ASSIGNMENT
151
BONUS MULTIMEDIA CONTENT: Microphone Polar Patterns and Stereo Configurations
VIDEO
SECTION 7: EFFECTS & PLUG-INS
153
Introduction to Effects & Plug-Ins
TEXT
154
Insert and Buss Effects
TEXT
155
Delay & Reverb
TEXT
156
Calculation of Delay Times
TEXT
157
Delay in Live Sound
TEXT
158
Background to Artificial Reverberation
TEXT
159
Reverberation Chamber
TEXT
160
Assisted Resonance
TEXT
161
Plate Reverb
TEXT
162
Spring Reverb
TEXT
163
Digital Reverb
TEXT
164
Reverberation Parameters
TEXT
165
Pre-Delay
TEXT
166
Reverberation Time
TEXT
167
High-Frequency Damping
TEXT
168
Distortion
TEXT
169
Harmonic Distortion
TEXT
170
Intermodulation Distortion
TEXT
171
Clipping
TEXT
172
Time-Domain Effects
TEXT
173
Phasing, Flanging & Chorusing
TEXT
174
The Rotary Loudspeaker Cabinet
TEXT
175
Pitch Changing
TEXT
176
Pitch Correction
TEXT
177
Harmonic Generation
TEXT
178
Check Questions
QUIZ
179
Examples of Convolution Reverb
AUDIO
180
Comparison of Reverb Plug-Ins
AUDIO
181
Distortion
AUDIO
182
Auto Pan
AUDIO
183
Chorus
AUDIO
184
Filter Sweep
AUDIO
185
Flanging
AUDIO
186
Phasing
AUDIO
187
Pitch Changing
AUDIO
188
Pitch Correction
AUDIO
189
Harmonic Generation
AUDIO
190
Creation of Artificial Reverb Using a Natural Reverberation Chamber
ASSIGNMENT
191
BONUS MULTIMEDIA CONTENT: Piano Recording Techniques
VIDEO
SECTION 8: SYNTHESIS & SAMPLING
193
Subtractive Synthesis
TEXT
194
Waveforms
TEXT
195
Filter
TEXT
196
Voltage Control
TEXT
197
Voltage-Controlled Amplifier
TEXT
198
Envelope Generator
TEXT
199
Modulation
TEXT
200
Oscillator Synchronization
TEXT
201
Noise Generator
TEXT
202
Pulse-Width Modulation
TEXT
203
Oscillating Filter
TEXT
204
Sample & Hold
TEXT
205
Ring Modulator
TEXT
206
Portamento
TEXT
207
External Input
TEXT
208
Additive Synthesis
TEXT
209
FM Synthesis
TEXT
210
Wavetable Synthesis
TEXT
211
Physical Modeling Synthesis
TEXT
212
Sampling
TEXT
213
The Process of Sampling
TEXT
214
Sampler Functions
TEXT
215
Sampling Rate
TEXT
216
Sampling Duration
TEXT
217
Stereo Sampling
TEXT
218
Trim & Extract
TEXT
219
Normalization
TEXT
220
Looping
TEXT
221
Reverse
TEXT
222
Time Stretch
TEXT
223
Making Programs
TEXT
224
Keygroups
TEXT
225
Layers
TEXT
226
Velocity Zones
TEXT
227
Mute Groups
TEXT
228
MIDI
TEXT
229
Check Questions
QUIZ
230
Waveform Demonstrations
AUDIO
231
Filter Demonstrations
AUDIO
232
Envelope Generator Demonstrations
AUDIO
233
Low-Frequency Oscillator Demonstrations
AUDIO
234
Examples of Synthesized Sounds
AUDIO
235
Creation of a Piece of Music or Soundscape From Basic Sampled Sources
ASSIGNMENT
236
BONUS MULTIMEDIA CONTENT: Acoustic Guitar Recording Techniques
VIDEO
SECTION 9: RECORDING TECHNIQUES
238
Recording a Band
TEXT
239
Basic Tracks
TEXT
240
How Many Takes?
TEXT
241
Guide Vocal
TEXT
242
Overdubbing
TEXT
243
Instrument Miking
TEXT
244
Drums
TEXT
245
Setting Up The Drums
TEXT
246
Kick Drum
TEXT
247
Snare Drum
TEXT
248
Double Miking the Snare Drum
TEXT
249
Toms
TEXT
250
Overheads and Hihat
TEXT
251
Piano
TEXT
252
Acoustic Guitar
TEXT
253
Electric Guitar
TEXT
254
Direct Injection (DI)
TEXT
255
Recording a Live Band
TEXT
256
Classical & Orchestral Recording
TEXT
257
Classical Music
TEXT
258
Film Music
TEXT
259
The Orchestra in Popular Music
TEXT
260
The Instruments of Orchestral Music
TEXT
261
Strings
TEXT
262
Woodwind
TEXT
263
Brass
TEXT
264
Percussion and Other Instruments
TEXT
265
The Voice in Classical Music
TEXT
266
Instrumental Groupings in Classical Music
TEXT
267
Forms of Classical Music
TEXT
268
Classical Music Performance
TEXT
269
Classical Music Personnel
TEXT
270
The Classical Music Recording Session
TEXT
271
Check Questions
QUIZ
272
Acoustic Guitar
AUDIO
273
Electric Guitar
AUDIO
274
Bass Guitar
AUDIO
275
Drums
AUDIO
276
Snare Drum
AUDIO
277
Kick Drum
AUDIO
278
Overheads & Room Mics
AUDIO
279
Vocals
AUDIO
280
Background Vocals
AUDIO
281
Producers' Mixes
AUDIO
282
Recording An Instrument Af Your Choice To Fit An Existing Recording
ASSIGNMENT
283
BONUS MULTIMEDIA CONTENT: Electric Guitar Recording Techniques
VIDEO
SECTION 10: MIXING
285
Mixing Console Architecture
TEXT
286
Microphone & Line Input
TEXT
287
Insert Point
TEXT
288
Equalizer
TEXT
289
Auxiliary Sends
TEXT
290
Dynamics
TEXT
291
Small Fader
TEXT
292
Solo/PFL
TEXT
293
Large Fader
TEXT
294
Signal Paths
TEXT
295
Console Center Section
TEXT
296
Main Outputs
TEXT
297
Monitoring
TEXT
298
Auxiliary Returns
TEXT
299
Metering
TEXT
300
Group Faders
TEXT
301
Communications
TEXT
302
The Process of Mixing
TEXT
303
Monitor Mix
TEXT
304
How To Get A Good Mix
TEXT
305
Stereo Formats
TEXT
306
Automated Mixing
TEXT
307
Moving Faders
TEXT
308
VCA
TEXT
309
Mute Automation
TEXT
310
Mix Engineer Comments
TEXT
311
Check Questions
QUIZ
312
Mix Demonstration: It Would Be So Easy
AUDIO
313
Mix Demonstration: Pretending
AUDIO
314
Mix Demonstration: All Or Nothing
AUDIO
315
Full Mix Of The Multirack Recording Of All Or Nothing
ASSIGNMENT
316
BONUS MULTIMEDIA CONTENT: The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
VIDEO
SECTION 11: MASTERING
318
Introduction To Mastering
TEXT
319
Pre-Mastering
TEXT
320
Fault Correction
TEXT
321
Mastering For Vinyl
TEXT
322
Noise In Vinyl Mastering
TEXT
323
The Acceleration Limiter
TEXT
324
Mistracking
TEXT
325
Side Duration
TEXT
326
Stylus-To-Groove Speed
TEXT
327
The Role Of The Vinyl Mastering Engineer
TEXT
328
Mastering For CD
TEXT
329
Mastering For Download
TEXT
330
Artistic Aspects Of Mastering
TEXT
331
Subjective Loudness
TEXT
332
Compression
TEXT
333
Clipping
TEXT
334
Multi-Band Compression
TEXT
335
A Mastering Engineer's View
TEXT
336
Mastering For Acoustic Music
TEXT
337
Check Questions
QUIZ
338
Mastering Step-By-Step
AUDIO
339
Normalization
AUDIO
340
EQ
AUDIO
341
Compression
AUDIO
342
Limiting
AUDIO
343
Clipping
AUDIO
344
Soft Clipping
AUDIO
345
The Mastering (Brickwall) Limiter
AUDIO
346
Multi-Band Compression
AUDIO
347
Mastering A Professionally Mixed Recording
ASSIGNMENT
348
BONUS MULTIMEDIA CONTENT: The Anna Neale Preamp Test at Abbey Road Studio 3
VIDEO
SECTION 12: MARKETING YOUR MUSIC AND RECORDING SERVICES
350
Ways To Earn Money From Music And Recording
TEXT
351
How to become a recording artist, signed to a major record label (difficult)
TEXT
352
How to become a recording artist selling your own products
TEXT
353
How to become a songwriter
TEXT
354
How to become a composer
TEXT
355
How to become a professional musician
TEXT
356
How to become an arranger
TEXT
357
Operating a commercial recording studio for hire
TEXT
358
Operating a location recording service
TEXT
359
How to become a producer
TEXT
360
Producer/engineer/musician
TEXT
361
How to become an engineer
TEXT
362
Check Questions
QUIZ
363
Listening Skills Test
AUDIO
364
White Noise
AUDIO
365
Filtered White Noise
AUDIO
366
Contaminated White Noise
AUDIO
367
Fine Pitch Discrimination
AUDIO
368
Out Of Phase
AUDIO
369
Audio Faults
AUDIO
370
Creation Of A CD Or DVD Showreel
ASSIGNMENT
371
BONUS MULTIMEDIA CONTENT: The Charlotte Roel Microphone Test at Abbey Road Studio 3
VIDEO
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